Samantha's wedding day should be one of the happiest days of her life. But Samantha is convinced she has seen the man she help convict of brutally murdering her mother 15 years previous when she was 7 years old. No one seems to believe that a killer is stalking Samantha, but she sees the man everywhere. Soon enough, anyone close to Samantha who knows anything about her mother's murder turns up dead. Is the man she has seen the killer, or is it someone else?

I really don't understand the IMDb rating of 4.3 for Schizo. The movie is much better than that rating would indicate. I found it to be an entertaining little thriller in the Italian Giallo style. A few good kill scenes, a deranged looking stalker, and an incredible séance make this one above average for me. Director Pete Walker threw in just enough of the red herrings to keep me doubting the killer's identity throughout. Like Walker's other films, Schizo has a downbeat look to it that adds a lot of gloom to the proceedings. I don't think the sun ever shines in a Walker film.

Samantha (Lynne Frederick) is a celebrity ice skater whose fabulous life includes media coverage of her marriage plans. Too bad that William Haskin (Jack Watson)--convicted of killing Samantha's mother (Wendy Gilmore)--reads the newspapers. Samantha's a neurotic mess herself, so nobody really believes her when she says she's being stalked--until, that is, the body count starts going up.

Speaking of bodies, Frederick's and Gilmore's are on full display.

Schizo is like an Italian Giallo; there is plenty of blood and nudity.

The first half of the film is the setup and it drags a bit, but things get going and it is a fun ride even though I suspect that we are being set up for a twisted ending.

And, boy did we get one.

SCHIZO

Aspect ratio: 1.85:1

Sound format: Mono

A young figure skater (Lynne Frederick) is stalked by a convicted killer (Jack Watson),recently paroled from prison, whose appearance coincides with a series of vicious murders.

Typical entry from British sleaze specialist Pete Walker (FRIGHTMARE),taking its cue from the giallo shockers popular throughout continental Europe at the time. Less confrontational than some of Walker's previous outings ("It was less Gothique... I wanted less incident and outrage," he explained to journalist Alan Jones in 1983),SCHIZO still delivers the gory goods, though it takes rather too long to work up a decent head of steam. Climactic dividends are reaped by a steady accumulation of narrative details, but individual scenes are somewhat labored, not helped by Frederick's lack of presence in the leading role. By contrast, Stephanie Beacham (DRACULA A.D. 1972) is utterly charming as a family friend who turns detective when Frederick identifies Watson as her stalker - had the roles been reversed, this could have been a small masterpiece of psychological horror. Other stand-outs include veteran character actor Watson (recognizable from brief appearances in countless British movies, here given a much weightier role than usual),and a bearded John Fraser ("The Trials of Oscar Wilde") as a psychiatrist who pays the price for digging too deeply into the circumstances surrounding the death of Frederick's mother.

Aware of his own directorial limitations, Walker always allowed clever scriptwork to dictate his method, but he was no hack, as SCHIZO ably demonstrates. Here, his point-and-shoot style is punctuated by moments of genuine visual dexterity, such as the circling of a pen on a newspaper article which gives way (via dissolve) to a spinning ice-skater, or the truly unsettling séance during which medium Trisha Mortimer manifests physical signs of possession by one of the killer's former victims. The subsequent murders are blunt and bloody, with no pretence to subtlety. Peter Jessop's artful cinematography and Chris Burke's sensitive art direction make a virtue of the film's seedy locations, and while a good fifteen minutes could have been cut from the overlong narrative (most of the film's highlights are confined to the second half),editor Alan Brett manages to streamline an increasingly complicated scenario with some degree of panache.

Screenwriter David McGillivray parted company with Walker after this one, due partly to the quality of the script (based on an old work by Murray Smith, author of Walker's earlier films),which McGillivray felt was too transparent, and rendered the killer's identity obvious from the outset. Maybe so, but some of the climactic revelations still pack a hell of a punch. Bottom line: If you're a fan of Walker's output or British exploitation in general, you'll overlook the film's slow-burning tempo and enjoy its outlandish plot developments. Worth a look.